The standard grips this chord is usually shown with.
BmMaj9 is B, D, F#, A# and C# — BmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.

| B | D | F# | A# | C# |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Minor tonic — melodic minor, extended.
Also written BmM9, Bm(maj9) or B-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
BmMaj9 in 9th in bass puts C# in the bass instead of B, the 9th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of BmMaj9’s 7 common shapes does this: 9-9-9-11-11-10.
Start with 75860x — no barre and 1 open string. 1 of the 7 shapes here sits in open position. 4 of the 7 need a barre. Together they cover the neck from the 2nd fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x20322 | open position | B, root position | F# | barred |
| 254322 | 2nd fret | F#, 2nd inversion | F# | barred |
| 75860x | 5th fret | B, root position | C# | 1 open string |
| 75x676 | 5th fret | B, root position | A# | all fretted |
| 798779 | 7th fret | B, root position | C# | barred |
| 9-9-9-11-11-10 | 9th fret | C#, 9th in the bass | D | barred |
| x-14-12-15-14-x | 12th fret | B, root position | C# | all fretted |
The same notes rebuilt from scratch give 5 shell, 10 drop 2, 6 drop 3, 13 rootless and 4 open string voicings, each on its own page.
Tensions. A shell of BmMaj9, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (E) and the 13 (G#).
How you get to it. The turn that lands on BmMaj9 is C#m7♭5 to F#7♭9: the ii and the V of B minor, which is where a minor tonic is usually arrived at rather than simply begun on.
Every note of BmMaj9 is in B harmonic minor and B melodic minor.
Change one note of BmMaj9 and you have Bmaj9 (the minor third becomes a major third), Bm69 (the major seventh becomes a sixth), Bm9 (the major seventh becomes a flat seventh), BmMaj7 (drop the ninth), BmMaj11 (add the fourth) or Bmadd9 (drop the major seventh).
BmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
On BmMaj9’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.